==== ISSUE 85 ==== CONSUMABLE ======== [August 28, 1996] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron, Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, Stephen Lin, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Joann Ball Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' INTERVIEW: Voice of the Beehive - Joann D. Ball REVIEW: Ash, _1977_ - Tim Hulsizer REVIEW: Soundtrack, _The Crow: City of Angels_ - Sean Eric McGill REVIEW: Fifteen, _SURPRISE!_ - Eric Hsu REVIEW: Sleeper, _The It Girl_ - Bob Gajarsky REVIEW: Vernon Reid, _Mistaken Identity_ - Reto Koradi REVIEW: Republica, _Republica_ - Bob Gajarsky REVIEW: Grant Lee Buffalo, _Copperopolis_ - Linda Scott REVIEW: The Reverend Horton Heat, _Martini Time_ - P. Nina Ramos REVIEW: Lizard Music, _Lobster T._ - Al Muzer NEWS: Dahlia, 510 Records, L7, NME, Oasis, Rio Reiser, Stone Roses TOUR DATES: Barenaked Ladies, Block, Bryndle, Cardigans / Cake, Chainsaw Kittens, Chimera, Citizen King, Cordelia's Dad, Elvis Costello, Cravin' Melon, Def Leppard / Tripping Daisy, Ryan Downe, Download, Downset, Fleming & John, Fulflej / Frogs, Godplow, Goldfinger, David Gray, Hayden, His Name Is Alive, It's Me, Margaret, Keeta Speed, Nusrat Fateh Ali Khan, Kiss / Hunger, k.d. lang, Huey Lewis & The News, Little Feat Metal Molly, Neurotic Outsiders / Fluffy, No Doubt, Oasis / Screaming Trees / Manic Street Preachers, Pantera, Pee Shy, Poorhouse Rockers, Primitive Radio Gods, Reel Big Fish, Scout, Sepultura / Far, Sex Pistols / Gravity Kills, Speedway Voice of the Beehive, Young Dubliners UPDATE: Hot Water THE READERS WRITE BACK! Back Issues of Consumable --- INTERVIEW: Voice of the Beehive's Tracey Bryn and Melissa Belland - Joann D. Ball The buzz is back! I recently caught up with sisters Tracey Bryn and Missy Belland, otherwise known as Voice of the Beehive, a few hours before their first Southern California gig in several years. Obviously thrilled and excited about being back in the land of sun and surf and playing a brand new batch of songs live, Tracey and Missy were also quite aware of just how far they've come during the last few years. "Did you see we passed a Birmingham Drive and a Manchester Avenue on our way down here to San Diego?" Tracey asks Missy as the three of us walk to a restaurant across the street from the venue. "Yeah," Missy responds, to which she quickly adds "there was also a town called Cardiff-By-The-Sea, too." Despite the miles, memories of a decade in Britain are quite near to these California natives. After relocating to London in the mid-eighties, Tracey and Missy formed Voice of the Beehive with a few blokes and soon got signed to London Records (part of PolyGram). Their 1988 debut album _Let It Bee_ was full of aggressive, edgy guitar-driven pop songs fueled by a bizarre sense of humor and fashion. The more refined, but equally catchy _Honey Lingers_ followed in 1991 to fans' delight. But soon afterward the Beehive began to fall apart. Drummer Woody returned to his previous band Madness, the other guys drifted away and the band was released from their record contract. Around the same time, Tracey and Missy lost the men in their personal lives when love relationships when awry. It was only by comforting and supporting each other the way sisters and best girlfriends do during such crises that Tracey and Missy were able to recover from such painful stings. Last year, the Beehive duo returned to the studio and recruited producer Peter Vettese to help craft some new songs. The result is _Sex & Misery_ (Discovery Records), a story of innocence lost and independence gained. Consumable: You've now permanently relocated to California. How does it feel to be back here, with a new record label, a new record and doing some live shows? Tracey: It feels great! Missy: It's like starting over. T: Definitely. M: This is really the first proper gig and the band is new. I just want us to be our best and I feel that in England people knew what we were about. Here I hope they understand the humor in the band. I hope that they get the message. I always thought America would love the band. C: I understand the new record (_Sex & Misery_) was actually released in Britain months before it was released here in April. T: Yeah. We did "Angel Come Down" [as the first single] thinking Britain, mellow, beautiful pop tune, they were gonna love it. Well, everybody was going, 'where is the Beehive, this doesn't sound like the Beehive.' We were surprised. We thought they'd go 'wow, this is very different and brave." M: We wanted to comeback with like 'whoa, who's that? It's the Beehive? Oh, my God!' But it totally backfired. It could have been brilliant though. T: The only way you know is if you try. M: So we came here and since that didn't work [we thought we'd do it] with a proper pop song now. C: And that song would be "Scary Kisses." M: Yes, and it's a totally fun song. It's like summer, with the top down, driving down the road. And I like the second single, too, which is "So Hard." T: Even from the beginning "Scary Kisses" just takes off [imitates the opening chords of the song]. Missy always says it reminds her of our song "I Say Nothing" from the first record with that bright, glistening kind of sound. M: That's true. But overall, this album is different from the first two records because they were written on guitar and this one was written on keyboards. C: One of the things I noticed that's different about this album is that the lyrics seem much more complex than they appear on the surface. Like the song "Playing House," for instance. What's the story behind that song? T: It's about men who have been swindled or gently connived into marrying when they really didn't want to. And then, when things aren't going too well, their women get pregnant. Then they [as a couple] are not really happy. And then the whole sick thing starts. C: So, playing house, which is something so fun and childish becomes something so adult and serious. T: Yes, that's it! That's the spin, that's the twist. M: Why, Tracey, I didn't even know you did that with the song! She's just brilliant, isn't she? C: You're also writing with a few other people this time around. What led to the collaboration with Andy Partridge of XTC on "Blue in Paradise?" T: Our manager called and said do you want to write a song with Andy Partridge. And I said no. But then I panicked because I thought he's one of the best songwriters, really, a brilliant pop songwriter. I thought "what could I contribute?" But I thought I'd give it a try and learn from him, which I did. It was like a songwriting, eight-hour crash course. Andy and I literally worked on the music side by side and then I took it away and did the lyrics. C: And what was the process for the rest of the new songs? T: On the rest of the songs, our producer Pete did a good part of the music and then I would take it home and work on the lyrics. M: And then I would get the songs and work on the harmonies. C: There's so much going on on this new record - a variety of instruments and sounds and more complex lyrics. Does it reflect what you were going through personally during the past few years? T: The records all seem like journals. Especially on this third record, it kind of closes that chapter, horrible chapter in my life. C: Was it therapeutic in that sense? T: Oh, absolutely. C: So, how does it feel to constantly keep opening your journal and reading aloud from it when you perform live? T: That's exactly what it is. M: It isn't really a problem for us, though, because the songs are positioned in a really manic, upbeat set. We're doing more upbeat tunes from the album than the sad ones. And even though "Heavenly" sounds sad, it really is such a joyful song. T: "Heavenly" is just such a comforting song. I just love to sing it because I can relive all the joy of what the song is about. And songs like "I Say Nothing" [from _Let It Bee_] I just love playing again. And "Beat of Love" [also from _Let It Bee_] is fresh now because we haven't played it in several years. C: Voice of the Beehive had a sizable college audience when the debut record _Let It Bee_ came out. Do you think some of those listeners will turn up at shows? T: I think so. I think also the good thing is that this record is more grown up and more sophisticated. Our audience has grown just like we have. M: Our music still has the lyrical sass that attracts youth. We'll still have fans that age [late teens], but I think slower songs like "Angel Come Down" and "Moonblind" will appeal to older people. C: You mentioned youth. What was it like for the two of you as kids, growing up? M: We used to fight so badly. T: There was a lot of tension in the house when we were growing up there. C: So how did things change? M: I'll tell you how things changed. I went to boarding school and Tracey went to college and we were separated. I'm four years younger than her. Anyway, we would turn up at Christmastime with virtually the same outfit on, the same tapes in the back of the car, and it was just uncanny. C: And since then you've been on the same wavelength. T & M: Right! C: With all the ups and downs of the final years in London, was there ever any point when you thought you might lose each other? M: No, oh my god, no. T: We're stuck together forever. Tracey Bryn and Missy Belland may be older, wiser and more free, but they're still able to deliver that unique brand of honey pop that is Voice of the Beehive. --- REVIEW: Ash, _1977_ (Reprise) - Tim Hulsizer Last year, Reprise released _Trailer_ by Ash. It was hardly more than an EP (clocking in at just over thirty minutes) but it represented a start in America. You see, although Ash is huge in the UK (they hail from Ireland), almost nobody in America seems to know about them. They sell out huge venues in Europe, they win poll after poll in the pages of NME, etc. However, the closest they have come in the States is having the song "Kung Fu" appear in the soundtracks to _Angus_ and Jackie Chan's _Rumble in the Bronx_. The latter appearance also spawned a great little video, mixing scenes from the movie with Ash's fantastic live presence. The song itself is innocuous lyrically but quite potent sonically. Lines about loving kung fu movies and Jackie Chan are sung over a searing, hook-filled guitar line, creating what turned out to be one the highlights of 1995 for me and my friends. Ash are back, and this time you had better take notice. 1996 shows the band (Tim Wheeler on vocals/guitar, Mark Hamilton on bass, and Rick McMurray on drums) in fine shape. Wheeler's lyrics, ranging from wacky sci-fi tales ("Day of the Triffids" from _Trailer_) to tender love songs, are just beginning to bloom fully and the band sound resplendent in their slightly fuzzy style. The new album, titled _1977_ after the year Star Wars was released, is every bit as fun and catchy as the first one. In addition to fantastic, energetic romps like "Lose Control" and "Kung Fu", it also ventures into the realm of love songs. Tim Wheeler is the "sensitive guy" in the group, the one who writes most of their material and prefers to croon rather than scream his words. Nowhere is this in better evidence than on tracks like "Girl From Mars". The song starts quietly enough and doesn't waste time getting to its hook, as Wheeler sings "Do you remember the time, you were a girl from Mars? I don't know if you knew that/Oh we stayed up late playing cards/Henry Winterman cigars/And you never told me your name/I still love you Girl From Mars". At this point, the rest of the band kicks in noisily and a masterpiece of lovesick youth ensues. All of Ash's best songs revolve around that heartfelt ideal of young love, and nobody sounds more convincing than the still-teenage Wheeler. His voice is high, decidedly unlike Barry White for example, and when he's writing about a girl, watch out. _1977_ continues on in great fashion, and other highlights (UK singles all) include "Goldfinger", "Oh Yeah", and "Angel Interceptor". The latter is another of that quiet/loud/quiet style, and it also goes for the mushy stuff ("Don't you know that I'm in heaven with you/tomorrow you're coming home", etc.) It's a very cohesive, fluid album. The wash of guitar, the melodic basslines, and the relentless drums all combine to draw the listener onward. By the time it's over I find myself saying, "Hey is that it? Let's pop that sucker in again." The guys in Ash never takes themselves too seriously, either. One need only read their interviews to realize that. Need any further proof? Check out the "hidden track" at the end of _1977_. It's a charming little recording called "Sick Party", in which Mark, Rick, Tim, their producer Owen Morris and some friends all got a bit drunk and recorded themselves...er, spilling their guts, so to speak. Certainly this album won't appeal to your typical angry grunge devotee, but I think pop fans will be in heaven and it won't be long before young American girls join the screaming masses across the ocean. This band just keeps getting better and better. The songs get catchier (if that's possible), the live sets get tighter, and the lyrics get more mature with every try. In the UK at least, it seems Ash are poised to take over the pop scene. _Select_ magazine listed the 100 most important days of 1995 and chose the day that Tim Wheeler finished high school as one them! In an interview, Hamilton said, "Before we break up, we'll have recorded at least one classic album." If they broke up tomorrow, I believe that statement would already ring true. --- REVIEW: Soundtrack, _The Crow: City of Angels_ (Miramax/Hollywood) - Sean Eric McGill The soundtrack for _The Crow_ helped to set the standard by which soundtrack success is measured today. Oh sure, we knew that a soundtrack to something like _The Bodyguard_ could sell, propelled mainly by the mainstream clout of the artists - but a collection of songs from bands like Pantera, My Life With The Thrill Kill Kult, and Rollins Band? Well, it did sell - and it sold well - perhaps doing more for the film in terms of promotion than the death of Brandon Lee. So, when the sequel for The Crow was announced, the next soundtrack was inevitable. And in many respects, the soundtrack for _The Crow: City of Angels_ is a worthy successor to its predecessor. It certainly has that edgy "alternative" feel to it, with artists like PJ Harvey, Hole, and Iggy Pop (who also has a staring role in the film) lending their talents to the proceedings. Overall, the album works. As with the original soundtrack, newer acts like NY Loose share time with established groups like Hole, and the general feel of the album reflects what we can only assume the film's atmosphere will be. I mean, let's be honest here - nobody really expects this film to be bright and sunny, do they? There, perhaps, is one of the problems with the album. It almost seems as if they used the first soundtrack as a template for this one. Can't get The Cure back for your dark, brooding song? Then get Bush (?!?!), with "In A Lonely Place", a song that fits that spot perfectly. Need something along the lines of Jane Siberry's "It Can't Rain All The Time"? Get Linda Perry and Grace Slick to come in and do "Knock Me Out". But there is one major difference between this soundtrack and the soundtrack to _The Crow_, and it's not necessarily a good one in term of sales. On _The Crow_, there was a little song called "Big Empty" that got much radio and helped to boost sales of the album - which of course translated into ticket buyers for the film. But on the soundtrack for _The Crow: City of Angels_, there is no such hit. Sure, Hole is getting good rock and alternative radio with "Gold Dust Woman", and odds are Toadies "Paper Dress" will also make a good single. But mass market radio will not warm up to any of the tracks on this album like they did for "Big Empty". Why? Well, most of the bands on the album that could get airplay aren't doing their usual shtick. White Zombie does K.C. and the Sunshine Band's "I'm Your Boogie Man", but after about the fifth listen, the novelty has worn off. Tried and true radio acts like Bush step a bit off their own beaten path with "In A Lonely Place", and it's probably not a direction most of their fans will want to go in. I'm not saying that this is a bad thing. But let's all be honest with ourselves here - as a movie, The Crow: City of Angels has a couple of strikes against it before it even gets into the batters box. There is a general feeling of skepticism about this movie that has been sitting around quietly simmering since it was announced last year; the only time it ever boiled was when it was announced that Jon Bon Jovi was up for the lead although that could have produced a radio hit had he gotten the part. But when looked at as an album instead of a marketing tool, the soundtrack for _The Crow: City of Angels_ does work. The songs do - for the most part - flow together well. But is it as good as the soundtrack for _The Crow_? Alas, no. But then again, the movie probably won't be, either. --- REVIEW: Fifteen, _SURPRISE!_ (Grass) - Eric Hsu When I first heard this CD, I hadn't been to any East Bay punk shows in a long time and I had been trying hard to like the recent Ammonia and Local H CDs (incredibly mediocre grunge), at least enough to review them, and ended up feeling just sick to death of music. Anyway, when I put in the Fifteen disc _SURPRISE!_, I can't describe how refreshing and alive the music sounded. There is such personality in the disc, and such energy. Even tired energy is thrilling if it's genuine, and that's what you get on this disc, tired-genuine energy. I think you owe this disc a try if you've lost hope in music, especially if you don't get regular exposure to good hearty punk. You know who you are. Fifteen played their final show a couple of months ago at Gilman, and it was packed. It was a great scene: daylight, punks of every stripe, old-timers and newer faces lined up (literally) around the block to try to squeeze into the show, and all under the skeletal shadow of a half-started brew-pub across the street. Gilman fought the licensing of the brew-pub for a long time, with a number of good well-reasoned arguments, but the main point was that the brew-pub was the leading edge of a gentrifying wave that was going to wipe Gilman out as a safe refuge where punks could be punk and have a scene and gossip and fight and basically be left in peace. Of course, the Berkeley City Council loves yuppie businesses and wishes punks would grow their hair and get jobs, and that's how the large metal frame came to be erected, I-beams piled like a grave marker. Fifteen has been around for a long time, long enough to have some kind of credibility among most people, not only among the punks but also the activists, since they played a lot of benefits at People's Park (an admirable crossover). Everyone knew who they were and had respect for them, but I didn't know anyone who had really gone to their shows. Some old-timers didn't like their music, some thought they had gotten weird ("That last show was really weird... Jeff just rambled on in a psychotic way... I think his girlfriend is screwing him up."), some thought their music was stuck in a rut. Pretty much everyone seemed to take them for granted, which is probably why their last show was such an event. Reportedly, the breakup was friendly and Jeff wanted to move on to other things. Their three-piece sound visits Descendents territory, maybe with some Fang and Minutemen flavor. No matter how you cut it, it's the essence of the East Bay sound, which makes it really easy to ignore as long as the scene is thriving, or even if it's stagnating, since scenes tend to stagnate around their center of gravity, when the once-living heart becomes orthodoxy. The songs are good, and very political, but fatigued at the same time. There are intelligent songs against violent cops, killing Indians, AIDS-spreading, which are also moral songs. The songs are fueled with a sense of social justice and responsibility, about revolting and not just rebelling. But ultimately, they're defeated and about survival and retrenchment. "I wanted a way out, but I didn't want to die," Jeff yells, which is a good example of the positive-in-the-face-of-despair mood that pervades the album. "We are in the mid/late-stages of the coming fascist dictatorship," writes Jeff. If that sentence has no meaning for you, skip this record. There are songs about old friends becoming cops, dumb drugged out rebels, and in the big picture, being an activist when the evil is winning all over in spades. There's no doubt that some of the weariness of the record (and the scene as a whole) comes from the super-mega-success of Green Day, and the baby-mega-success of Rancid. But even in a song about a Husker Du, criticizing "They traded gold for what they had inside," they also say, "They probably never knew that they kept one scared kid alive." I have a lot of respect for this record, especially for its attitude. It constantly finds the energizing and valuable side of negativity. After all, if something makes you really angry or really sick, there is something there that you cared deeply about, and Fifteen sings about those things. The funny thing is I no longer have any urge to play the disc. The songs are strong, sometimes beautiful, but somehow it's so much in the air in the East Bay that playing the sounds of the grinding guitars seems redundant. But now that the Gilman scene is choking to death, maybe someday this will be an important historical document. No one is going to buy this as sanitized danger a la Green Day or Rancid. There's simply not enough exposure. But I'm glad they existed and I'm glad they made this record, and I think it could be important for some people out there, it might keep "one scared kid alive." I'll let Jeff sign-off with his fatigued and mature take on the (unwelcome) East Bay punk successes: "I think we have better things to do than write letters to MRR and gossip about who showed up on MTV... No punk band is going to spontaneously generate the revolution, change is a lifelong process, made up of all of us. Who cares if "Bad Rancid Day Breaker" sold, I think we (and that includes me) are just hurt that a connection that we had with a band that we owned half of (the connection that is) got sold to the highest bidder. Life's better down here in the real world anyway." --- REVIEW: Sleeper, _The It Girl_ (Arista) - Bob Gajarsky On their second album _The It Girl_, the British group Sleeper manages to avoid the sophomore slump and produces yet another solid record. The band's first full-length album, _Smart_, was a major hit in the group's homeland, but could only garner success at American modern rock and alternative stations. The followup seems likely to follow the same path, but continues to explore new territories and directions. The title is a gentle poke at the trend of having one token woman each year (or decade) in the spotlight - the wartime Betty Grable (with the infamous pose over her back) personifies the "It" girl of the 1940's. On the musical spectrum, Sleeper fall somewhere in between the Cranberries and Echobelly - rocking harder than the O'Riordan clan, but never capturing the searing guitar prolific in Glenn Johannsen's playing. The big hit, "Sale of the Century" captures some of the Smiths airier moments, a la "Ask". The Smiths comparison shouldn't come as a complete surprise; _The It Girl_ was produced by Stephen Street, who has also worked with the Smiths. And is that a Smiths lament in "Dress Like Your Mother", where lead singer Louise Wener sings that "you sold your old punk records / read the book instead / you lost your sense of humour / but you kept the queen is dead"? In a lyric sheet where the only capitalized word is London, it's hard to say. Though the album may be a bit difficult for American audiences to swallow, other tracks to check out include "Nice Guy Eddie" and "Stop Your Crying". _The It Girl_ is another delicious treat for the followers of Britpop. --- REVIEW: Vernon Reid, _Mistaken Identity_ (550 Music/Epic) - Reto Koradi Facing Vernon Reid's first solo album with expectations of finding another Living Colour album would be a very wrong thing to do. Here is proof that the split was not caused by profane reasons like personal differences or even wanting to earn more money, but by at least one musician striving to step into different musical territories. For Reid, this partly means going back to his roots in jazz and funk. _Mistaken Identity_ is anything but a fast food album; it comes along as quite of a challenge to the unprepared listener. Large parts of it are instrumental; something such as a simple melody is nowhere to be found. Only repeated listens start to reveal hooks in the complex soundscapes. The most accessible tracks, like "CP Time" or "Saint Cobain", are characterized by a groundwork of percussions, strong bass, rap vocals, and Reid showing his muscles on the guitar, almost the only instances reminding of his past with Living Colour. Other tracks like "Lighnin'" have a prominent blues feel, with beautifully whining guitars, yet others are almost pure jazz. Another characteristic of _Mistaken Identity_ is lots of creatively used samples. As so often occurs, the names of producers give a clear key to an album: besides Vernon Reid himself, these are Teo Macero, who has previously worked with jazz greats like Miles Davis, and Prince Paul, who produced De La Soul's masterpiece _3 Feet High And Rising_. Vernon Reid's _Mistaken Identity_ may catch some buyers on the wrong foot, and will most certainly be less commercially successful than the platinum-selling Living Colour albums. But listeners taking their time to explore it will be richly rewarded. Here is a remarkable album made by highly gifted and dedicated individuals, perfectly produced, with new things to be discovered in every listen. Time will tell how it will hold up, but chances are that we are witnesses of what might once be considered an essential release by many. --- REVIEW: Republica, _Republica_ (RCA) - Bob Gajarsky Trash-pop gets a revival on the self-titled debut album by the British five-piece group, Republica. Fronted by the the Nigerian woman Saffron, this eleven track album flirts with the alternative and dance scenes while combining the best of both those worlds. The infectious leadoff single "Ready To Go" is represented on here in both the American and UK versions; the British one is much fuller, and more exciting; the American almost seems a safer musical track. Where some folks might sneer at the term "trash-pop", to me it indicates a catchy sound, without deep lyrical, save-the-world, meaning. Sigue Sigue Sputnik didn't have much of a second album, and neither did Shampoo - both of these bands fall in the trash-pop genre. But for a brief moment, both groups caused quite a sensation on the European charts. Even Republica's drummer - Dave Barborossa (formerly with Bow Wow Wow and Adam Ant) - adds some validity to the characterization. What's Republica got that these two groups didn't? A real band, and a beating soul within that band. Saffron has previously worked with the Shamen, Jah Wobble and Mark Moore, and has obviously gained from those experiences; "Get Off" is a sure-fire techno club hit, and "Bitch" (a likely second single) stays the same course as "Ready To Go" while bearing reminders of the Farm and Shamen's "Move Any Mountain". For those looking to have fun, and looking for a disc to pop on before going to the nightclub, _Republica_ fits the bill. --- REVIEW: Grant Lee Buffalo, _Copperopolis_ (Slash/Reprise) - Linda Scott Grant Lee Buffalo toured with big name admirers Pearl Jam and R.E.M., but they haven't yet racked up the sales figures to match their critical endorsements. Third album, _Copperopolis_, could follow the same path of being critically praised but not a big seller. Grant Lee Buffalo remains true to its principles while the CD buyer walks out of the shop with the latest Hootie disc. For the unacquainted, Grant Lee Buffalo is a trio (that sounds bigger) whose emphasis is on Dylanesque lyrics. Every song tells a story in lyrics that can require several listenings. On _Copperopolis_ topics for the socially conscious listener include the growing U.S. militia movement ("Homespun"), the cost of sustaining convictions in the face of the opposition ("Even the Oxen"), and brutal response to disturbances ("Crackdown"). Another track deals with the anxiety of living today ("Comes to Blows"), the fear of earthquakes in L.A. ("Hyperion and Sunset"); well, you get the idea. The band continues with their brand of introspective folk rock that perfectly supports these songs. The question of whether there is a large audience for this kind of moody album remains to be answered. Grant Lee Buffalo seems to have found its niche, however popular or unpopular, and seem unlikely to throw away principles to boost record sales. If you're already a Grant Lee Buffalo fan, _Copperopolis_ is a must have. The band has grown and developed a deeper, more intense style. Also fans of folk rock reaching way back to early Dylan should try this one. If you aren't an ardent fan of the band or folk rock, you might be surprised at what kind of new music you might like. This is an album you'll need to spend some time with. Lyrics are included for assistance, but some thought is required for the meanings. So, the socially conscious, more intellectual listener should give _Copperoplis_ a try. These guys are quite good. Would Pearl Jam and R.E.M steer you wrong? --- REVIEW: The Reverend Horton Heat, _Martini Time_ (Interscope) - P. Nina Ramos Without so much as a "Hello, we are..." the Reverend kicks out the tunes. The one and only party twist-n-whirl comes at you live and in stereo. _Martini Time_ is a rockabilly run from the past, present and future. With a new drummer, Scott Churrilla, the Reverend is *really* back, and I don't think he'll be disappearing any time soon! From the mind of Thom Panunzio, (whose past projects include John Lennon, U2 and Rocket From The Crypt) you'll find a collection of agreeable lunacies. "We thought we'd try someone who wasn't a rock star for once..." The Reverend was happy to settle down for a change. The session went without incident (apparently, there's usually some level of chaos) and provided a happy result for all. The title track is a fabulous way to have yourself a fancy time. And the delirium of "Generation Why" will spin around and fall right at the feet of mercy. The second half of the experience takes a turn for the old time goodness that is their trademark. Good, clean, *hard* fun. With titles such as "Crooked Cigarette", "Rock the Joint" and "Cowboy Love" there is no room for doubt where the Reverend intends on leading the listener. So pick up your favorite glass, fill it to the brim with fun and hold on to your hat. This is one party you won't want to miss! --- REVIEW: Lizard Music, _Lobster T._ (World Domination) - Al Muzer A delightfully-loopy collection of Lizard Music recorded way back in 1993 (including "Sugar Blackout," "She's Humming Too" and "The Hat Song" from Cozy Comfort For Slumber Parties); this New Jersey based band's eclectic, smarty-pants pop brings to mind foggy-eyed versions of XTC, 10CC, Steelers Wheel, Lennon & McCartney and Van Duren after a particularly rough weekend spent 'round the keg. Actually better (as if that were remotely possible) than last year's unusually-fine _Fashionably Lame_. --- NEWS: > The independent Massachusetts label Dahlia has jumped on the Web; their site is located at http://world.std.com/~dahlia > 510 Records is on the World Wide Web, located at the site http://www.510records.com > L7's bassist, Jennifer Finch, has left the group to return to college. L7 is still working on their forthcoming album, _The Beauty Process - Triple Platinum_, which is set for release in early 1997. Finch's contributions will be included on the album. > England's weekly music newspaper, NME, is now on the Web at http://www.nme.com > Fans who won tickets to see Oasis' live acoustic concert in London were disappointed when lead vocalist Liam Galagher failed to sing at the performance, citing a sore throat as the reason. Brother Noel took the lead on the concert, whose public airing future is uncertain. In addition, Liam has pulled out of the group's current U.S. tour because of the throat problems and (seriously) looking for a new house, sparking rumours of possible litigation against the band. > German rock singer Rio Reiser died Tuesday, August 20 at the age of 46. Reiser became popular as head of the band "Ton, Steine, Scherben" and started a solo carreer in the early 80s, with hits such as "Alles Luege" or "Koenig von Deutschland", and also played some roles in movies. Reiser had to cancel a recent tour due to health problems and died of inner bleedings in his farm house in Northern Germany. He had planned to record a new album in September. > The Stone Roses have announced that Aziz Ibrahim, formerly with Asia and Simply Red, has replaced John Squire as guitarist for the group. The band is in the studio working on their third album, which has an expected 1997 release date. --- TOUR DATES Barenaked Ladies Aug. 29 Houston, TX Numbers Aug. 30 Dallas, TX Deep Ellum Aug. 31 Austin, TX The Backyard Sep. 1 New Orleans, LA The House Of Blues Sep. 5 Scarborough, ON Centennial College Sep. 6 Niagara, ON Niagara College Block Sep. 1 Bridgewater, PA Thursdays Sep. 4 New York, NY New Music Cafe Sep. 6 Syracuse, NY Happy Endings Bryndle Aug. 29 Yosemite, CA Strawberry Fall Music Festival Cardigans / Cake Sept. 5 New York, NY Roseland Chainsaw Kittens Sept. 5 New York, NY Cooler Chimera Aug. 28 San Francisco, CA Paradise Lounge Citizen King Sept. 2 Milwaukee, WI Maritime Days Festival Cordelia's Dad Aug. 31 New York, NY Bottom Line Sep. 5 South Hadley, MA Common Sep. 6 Northampton, MA Fire & Water Elvis Costello Aug. 28 Universal City, CA Universal Amphitheatre Aug. 30 Berkeley, CA Greek Theatre Sep. 1 Seattle, WA Paramount Theatre Cravin' Melon Aug. 29 Clemson, SC Tiger Town Aug. 30 Wilmington, NC The Manor Aug. 31 Hilton Head, SC Castaways Sept. 1 Isle 'o Palms, SC Windjammer Sept. 5 Greenwood, SC The Griffin (t) Def Leppard / Tripping Daisy Aug. 28 Irvine, CA Irvine Meadows Aug. 30 Sacramento, CA Cal Expo Grandstand Aug. 31 Mountain View, CA Shoreline Amphitheatre Sep. 2 Quincy, WA The Gorge Sep. 3 Vancouver, BC GM Place Sep. 5 Calgary, AB Olympic Saddledome Sep. 6 Edmonton, AB Edmonton Coliseum Ryan Downe Sept. 5 New York, NY Don Hill's Download Aug. 29 Denver, CO Ogden Theatre Aug. 31 Seattle, WA The Fenix Downset Sept. 6 New York, NY Roseland Fleming & John Aug. 29 Murfreesboro, TN Mainstreets Aug. 30 Louisville, KY Butchertown Pub Aug. 31 Columbia, SC Elbow Room Sep. 1 Knoxville, TN Flamingo's Fulflej / Frogs Sept. 4 New York, NY Brownie's Godplow Aug. 29 Minneapolis, MN 7th Street Sept. 4 Iowa City, IA Gunnerz Sept. 5 Madison, WI Okay's Sept. 6 Des Moines, IA Safari Goldfinger Aug. 28 Portland, OR Roseland Aug. 29 Portland, OR Timber Bowl Aug. 30 Seattle, WA Bumpershoot Aug. 31 Vancouver, BC Pne Forum Sep. 1 Rockford, IL On The Waterfront David Gray Aug. 28 St. Louis, MO Cicero's Aug. 29 Milwaukee, WI Shank Hall Aug. 31 Cleveland, OH Taste of Cleveland Hayden Aug. 28 Stockholm, SWE Palladium (w/Weezer, Posies) Aug. 29 Oslo, NO Santrum Aug. 30 Lund, SWE Mejeriet Aug. 31 Copenhagen, DEN Grey Hall (w/Neil Young, Oasis) Sep. 1 Hamburg, GER Logo Sep. 3 Munich, GER Backstage Sep. 4 Modena, ITA Festival Del Unita His Name Is Alive Aug. 29 Austin, TX Cactus Cafe Aug. 30 Houston, TX Urban Art Bar Aug. 31 Dallas, TX Poor David's Sep. 3 Phoenix, AZ Stinkweed's Sep. 4 San Diego, CA Casbah Sep. 5-6 Los Angeles, CA Luna Park It's Me, Margaret Aug. 29 Los Angeles, CA Petterson's Keeta Speed Sep. 4 New York, NY Spiral Nusrat Fateh Ali Khan Aug. 29 Montreal, QC St. Denis Theatre Aug. 30 Washington, DC Warner Theatre Kiss / Hunger Sep. 4 Boise, ID BSU Arena Sep. 5 Salt Lake City, UT Delta Center k.d. lang Aug. 28 Boston, MA Harbor Lights Pavillion Aug. 29 Wantagh, NY Jones Beach Aug. 31 Holmdel, NJ Garden State Arts Center Sep. 3 Vienna, VA Wolf Trap Sep. 5 Myrtle Beach, SC Palace Theatre Sep. 6 Atlanta, GA Chastain Park Amphitheatre Huey Lewis & The News Aug. 28 Louisville, KY Palace Theatre Aug. 29 Kokomo, IN Kokomo Memorial Gymnasium Sep. 1 Virginia Beach, VA American Music Festival Little Feat Aug. 28 Devon, PA Valley Forge Music Fair Aug. 29 Hyannis, MA Cape Cod Melody Tent Aug. 30 Cohasset, MA South Shore Music Circus Aug. 31 Ossippee, MA Sias Farm Sep. 1 Beverly, MA North Shore Music Theatre Sep. 2 Vienna, VA Wolftrap Sep. 6-8 Lake Tahoe Harrah's Manic Street Preachers (see Oasis) Sep. 3 Hoboken, NJ Maxwell's Sep. 5 New York, NY Wetlands Metal Molly Sep. 6 New York, NY Under Acme Neurotic Outsiders / Fluffy Sept. 5 New York, NY Webster Hall Sept. 6 Boston, MA Mama Kin Sept. 7 Washington, DC Bayou No Doubt Aug. 28 Ybor City, FL Rubb Aug. 30 New Orleans, LA Howlin' Wolf Aug. 31 Austin, TX Liberty Lunch Sep. 1 Dallas, TX Deep Ellum Live Oasis / Screaming Trees / Manic Street Preachers Aug. 28 Dayton, OH Hara Complex Aug. 30 Auburn Hills, MI Palace of Auburn Hills Aug. 31 Toronto, ON Molson Park Sep. 2 Philadelphia, PA Corestates Center Sep. 6 Worcester, MA Centrum Pantera Aug. 28 Albany, NY Knickerbocker Arena Pee Shy Sept. 7 New York, NY CBGB's Gallery Poorhouse Rockers Aug. 29 Fells Point, MD Horse You Rode In On Aug. 31 Fells Point, MD Leadbetter's Primitive Radio Gods Aug. 28 Washington, DC 9:30 Club Aug. 29 College Park, MDUniversity Of Maryland, MD Hall Aug. 31 Atlanta, GA The Point Sept. 1 Birmingham, AL The Nick Sept. 3 New Orleans, LA Howlin Wolf Sept. 4 Houston, TX Satellite Lounge Sept. 6 Austin, TX Electric Lounge Reel Big Fish Aug. 30 Ventura, CA Nicholby's Aug. 31 San Diego, CA SOMA Scout Sep. 3 New York, NY Brownies Sepultura / Far Aug. 28 Buffalo, NY Ogden Street Concert Hall Aug. 30 Pittsburgh, PA Metropol Aug. 31 Asbury Park, NJ Stone Pony Sep. 1 New York, NY Limelight Sep. 6 Minneapolis, MN First Avenue Sex Pistols / Gravity Kills Aug. 29 Portland, OR Timber Bowl Aug. 30 Seattle, WA Bumpershoots Aug. 31 Vancouver, BC PNE Forum Speedway Sep. 4 New York, NY Downtime Voice of the Beehive Aug. 31 West Hollywood, CA Billboard Live (w/Slush) Young Dubliners Aug. 29 San Diego, CA Belly Up --- UPDATE: Due to legal considerations, the group formerly known as Hot Water Music has dropped the word "Music" from their name, renaming themselves as simply Hot Water. --- THE READERS WRITE BACK! I knew zilcho about Chimera before the article in the August 6 issue of Consumable, but after reading Bob's review, I became interested. I was one of the lucky five that won the Chimera EP in the contest, and having just listened to it, I'm now a fan (and will soon be picking up _Earth Loop_). Big thanks to both Grass Records & Consumable for exposing me to them. Here's hoping they're able to tour the Boulder/Denver area. - J.D., Boulder, CO --- To get back issues of Consumable, check out: FTP: ftp.etext.org in the directory /pub/Zines/Consumable ftp.prouser.org Gopher: diana.zems.etf.hr Engleski Jezik/Music/Consumable or Hrvastki Jezik/Glazbena Rubrika/Consumable (URL) gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable http://www.westnet.com/consumable/Consumable.html (WWW) http://www.westnet.com/consumable (CIS) on Compuserve Notes: GO FORUM (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Promotional support provided by Music Interactive (http://musicinteractive.com), a free online resource for aspiring musicians and other music professionals seeking to expand their careers, networking, music skills and scope. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===